From martin wood Sent Thu, Apr 22nd 1999, 15:05
From martin wood Sent Thu, Apr 22nd 1999, 15:05
has anyone out there seen gummo?...i thought the soundtrack to that was brilliant....even though its more of a collection of tracks by various artists...it very well done...(i thought the film was superb as well...)....maybe its the death metal tracks that do it for me...but some really good noisy bits...the whole thing sort of reminds me of a sebadoh album in film... Rodney Perkins wrote: > My two favorites soundtrack artists are Goblin and Bernard Hermann. Can't > envision "Suspiria," "Psycho," "North by Northwest" or "Taxi Driver" without > those pumping, slashing scores. I would say the first two flicks are the > best examples. > > I love Ennio Morricone but after the spaghetti westerns, his stuff seriously > lagged. Exorcist II had some fun stuff but it kind of sounded like a bad > Goblin rip-off. > > >> > >> Apparently none of these people learned from the genius that happens when > >> one person is allowed to score a movie...best example in my book as the > >> ultimate music complimenting film and vice versa would have to be all the > >> Sergio Leone / Ennio Morricone projects. Let's face it, close ups of > >> Eastwood / Van Cleef eyes and sweating foreheads for 5 minutes is only > >> made exciting by how awesome Morricones score was. Come to think of it, I > >> bet those soundtracks sold extremely well. There is a lesson here someone > >> in Hollywood is ignoring. > > > > second best example: isaac hayes' score for shaft, which did quite well > > and was quite influential as an album in its own right. > > > > third best example: wendy carlos' score for "a clockwork orange", a film > > which scores bonus points for incorporating pop songs (though not in the > > hollywood product placement manner) along with its score. > > > > jeff is right. the lesson is being ignored, and the more recent ones of > > "reality bites" and "pulp fiction" (collections of unrelated songs selling > > big) are being slavishly followed in the assembly of soundtracks now. i > > think there's a bit of a movement back towards thoughtful interaction > > with film...john mcentire's recent score for reach the rock, some other > > stuff i'm forgetting. > > > > basically, it's gonna take one of "us" to make it as a filmmaker first! > > > > rob > > (who would give his first born child to get amon tobin to score his film) > > > >